#Julia-Sophie

[yellowsnow77]

50 discos del 2024

Tras dejaros las 200 canciones de este año, sigo el repaso a lo mejor de 2024 con los 50 discos que más me han gustado los últimos once meses -no voy a contar diciembre porque sería absurdo-. El cual, tengo que decir, que no ha sido maravilloso. Sí que tenía muy claros los primeros puestos, pero el resto de posiciones casi podrían ser aleatorias. Es decir, que hemos tenido muchos discos de…

[thisworldisablackhole]

Listening Log, August 2024

August has pretty eventful, not a ton of new stuff that I'm over the moon about, but I've still been catching up with both new and older releases, so we're going all the way to 10 today (the max number of audio files tumblr allows on one post, and also the max number of songs I want to write about at a time). I'm kind of just biding my time until October when a bunch of good stuff is slated for release (Touché Amore, Balance and Composure, Drug Church, Fit For An Autopsy, and Elias Ronnenfelt, just to name a few). As always, these are ordered for colour flow and are not chronological. Everything is a new release unless stated otherwise.

FFO: INDIETRONICA, FEELING LIKE A KID AGAIN

The album I tried not to love, and failed miserably. This one is for all the kids who grew up listening to shit like Owl City, Hellogoodbye, and maybe even a bit of The Postal Service. Gigantic synthesizers, catchy pop melodies, dance breaks, and bittersweet vocals. It's a brand of nostalgia that makes me feel like a spoonful of sugar dissolving in cereal milk. I think Porter shot himself in the foot a bit by frontloading this album with all the bangers, because the energy drops off a cliff after the fourth track, which almost deterred me from continuing to listen. That opening sequence is so good though that I kept getting dragged back, and it really started to grown on me once I got over the fact that the rest of the album is some pretty mellow indietronica compared to the bouncy castle rave energy of the first 3 tracks, and it has slowly been sneaking up the chart to becoming one my favourite releases of the year.

FFO: MELODIC HARDCORE, POP PUNK W/ TURNSTILE RIFFS

I have never listened to Four Year Strong before. Something about their new album made me curious though. The album art is decidedly creepy and off-putting, but there's something about it that I like. It also just veers away from the pop punk frat boy imagery that I always associated with them. Either way, I'm really glad I decided to give it a go. I was not prepared for how many of the riffs were going to remind me of Turnstile or early Angel Du$t. Four Year Strong employ a lot of the same big, danceable hardcore riffs, just with a much greater focus on melodic pop punk sensibilities. Some of the lyrics on this album are cringe inducing (I'm looking at you, "STFIL"), but the good songs are so fun and catchy that it makes up for it.

(2007) - FFO: DRONE METAL, SHOEGAZE, SADNESS

The Angelic Process were a husband and wife experimental music duo that I came across almost by accident. I was not looking for the best dronemetalshoegaze album of all time, it just found me. Weighing Souls With Sand is a crushingly sad and desolate album, but it is also a textural heaven and an absolute delight for anyone who likes to nerd out over tones and production. The guitars are heavy with thick layers of dirt and reverb, and synthesizers swirl through the air like vultures to pick at our corpse. The vocals sound like desperate cries from the crypt, and the drums—while simple in nature—have an incredible impact. The slow, tribal tom hits during the third track give me chills.

Unfortunately, the story of Weighing Souls With Sand is wrapped in a very real tragedy. Kris Angylus killed himself in 2008 after a long battle with clinical depression and a severe hand injury that stopped him from being able to follow his passion. He was survived by his wife Monica Dragynfly until 2023, when she passed as well. The wild thing is, Weighing Souls With Sand is a concept album about a wife struggling to stay alive after her husbands suicide, and eventually takes her own life as well. Now, Monica's death was not actually confirmed to be suicide, but the strange (almost) prophecy of this album gives it a very chilling aura.

FFO: ICEAGE, ACOUSTIC GUITARS AND DANISH ACCENTS

When Elias Ronnenfelt dropped his previous single, "Like Lovers Do", I only had one thing on my mind... please please please be leading up to an album announcement. I begged on my knees every night before bed, and my prayers were answered. Elias dropped this new single "No One Else" along with the news that his debut solo album, Heavy Glory, will be released on October 25th. These two singles see Elias dropping the post-punk act and picking up the acoustic guitar to take on Americana through a Danish lens. "No One Else" is probably my favourite of the two just due to how sad it is, this song makes my eyes well up and leaves a pit in my stomach every time I hear it. The synthesizer that comes in close to the end reminds us that Elias' post punk roots are not far behind him. It gives the song a type of ethereal vibe that makes me think of The Cure but acoustic. Heavy Glory is now one of my most anticipated albums of the year.

FFO: COUNTRY, WAXAHATCHEE, PURPLE MOUNTAINS

This is another album that I was surprised to find myself enjoying so much. Maybe because the backing band reminds me of some of the late David Berman's work with Silver Jews and Purple Mountains. This is real slow dancin' country music with a beautiful homey vibe. Think open acres of tall grass, border collies, and an apple pie on the windowsill. Amanda Anne Platt's lyrics are a big part of why I love this album so much. This is not a truck drivin' beer chuggin' back roads type of country album (not that there's anything wrong with that). Amanda Anne Platt asks the big questions about life and love on this planet of ours. "Can anybody tell me how could we every be lonely, with all the whole wide world around? Baby when the lights go off, I think we're praying to the same God, I think we're holdin' to the same rock, I think we're drowning in the same barrage". There are plenty of tearjerking moments on this record. In a world that is so caught up in constantly one-upping ourselves every day, hearing her sing in the fifth track, "It's been a big year, I hope the next one can be smaller" immediately swept me off my feet. It almost feels taboo to ask for less. Life is overwhelming, and confusing, and stressful, and Amanada Anne Platt & The Honeycutters really get it. The Ones That Stay feels like pat on the head and a reassuring hug.

FFO: MELODIC POST-PUNK, POST-HARDCORE

Schedule 1 are a local band from Vancouver, BC. They play a style of warm, melodic post-punk that feels very unique to the temperate rainforest climate of the pacific north west. Post-punk has a long standing reputation for sounding cold and detached, but Schedule 1 sound surprisingly present and compassionate, which is a weird way to describe music, but maybe you'll know what I mean. Hell, the opening 20 seconds of "Nothing at All" sounds like it would be right at home on a fuzzy midwest emo record before the bass driven rock crashes it's way through the proverbial drywall. The band frequently flirts with other forms of melodic punk music, and they aren't afraid to wear their hearts on their sleeves. Being rooted in one of the most disparate and classist cities in the entire world, where an eternal addiction and housing crisis takes the center stage in most of our lives, it's possible that Schedule 1 have opted for empathy as a survival mechanism. There is no more room for coldness here, we must hold each other close, or die.

FFO: SCREAMO, POST-HARDCORE

Screamo heavyweight champs State Faults have returned with their magnum opus, Children Of The Moon. I'll be honest, I was never a huge fan of these guys. Their brand of screamo was always a bit too shimmery and well-produced for me, especially back in 2012 when I was much more interested in music that was chaotic and filthy. I wouldn't have even bothered to check out their new album if not for the absurd amount of hype that it generated, being declared an instant classic by many. I'm not convinced that this is an instant classic, but I'm glad I decided to check it out, because it's pretty damn good. There are some surprisingly progressive elements in this album (see the 10 minute long "No Gospel"), but the closer "Bodega Head" is by far my favourite, partially due to the incredible clean vocals and heart-clutching lyricism - "Do I get to start again, or have I closed the gates of Heaven? And now I'm on the edge, I'm hanging by a thread at Bodega Head". If every song was this impactful, I could probably get on board with considering it a classic, but a big bulk of the other tracks are still pretty run-of-the-mill post-rock influenced screamo. Not bad by any means, but a bit tiring for an album that is an hour long.

(2017) - FFO: ALT ROCK, FUZZY GUITARS AND SIMPLE MELODIES

I've been back on a big Waxahatchee kick since seeing her perform Tigers Blood live at The Orpheum a couple of weekends ago. That performance really cemented how great of a performer Katie Crutchfield is. I was really caught off guard by how powerful and magnetic her stage presence was, because it ran so opposite to the hushed, timid nature of her earlier work that kickstarted her career. If American Weekend was a collection of voice notes from a wounded animal, Tigers Blood is Katie standing victoriously atop a bloody mound of internal adversaries.

Despite being a fan of Waxahatchee since 2012, I've kind of drifted in and out of reach from her discography, and I realized that Out In The Storm was the only album of hers that I fully skipped over. This had to be rectified immediately. It's interesting to finally hear the album that preceded her major stylistic shift, because this doesn't feel like a transitory album at all. Out In The Storm is probably Katie's loudest record. It brought me right back to memories of songs like "Coast to Coast" and "Misery Over Dispute" off of Cerulean Salt, a sound that was explored more thoroughly on Saint Ivy, but Katie's songwriting on this album is just... *chefs kiss*. I especially enjoyed the demo versions of the songs on the deluxe version of the album, because they brought back that kind of lo-fi appeal of her debut, just with a full band and arguably better song writing. This is a great album, and a fantastic way to close out this era of her career.

(2023) - FFO: INDIE FOLK, ALTERNATIVE ROCK

It's no secret that I'm a huge City and Colour stan. One of my most formative core memories is listening to Bring Me Your Love while playing Minecraft (hilarious, I know). Needless to say, Dallas Green's music has been important to me for a long time, and his newest album from 2023 is no different. The Love Still Held Me Near was written following the death of a close friend and the divorce of his marriage, but Dallas does not succumb easily to darkness. This is some of his most tragic, yet life-affirming music to date. The first two tracks on this especially are probably two of his best songs period. "Meant to Be" grapples with depression in the wake of death - "And then the morning came, and the sun started rising, but I was missing my friend, so how do I carry on?" Green subtly notes the difference between himself and those who mourn in a church, is that the religious have some type of innate acceptance of loss as part of something bigger, whereas Green struggles to accept that this is really how life is meant to be. Maybe he envies their acceptance, or maybe it's just a beacon of hope. On the following track "Underground", however, Dallas rises through the throes of grief like a phoenix with an anthem affirming that the only way through pain is love - "Oh but it ain't enough, just to be alive. We gotta lean into the love a little, before we die". The rest of the album doesn't really come close to the greatness of the opening two tracks, but by god it is still a fantastic album and a top-tier addition to his discography.

FFO: TECHNO, SYNTH POP

Julie-Sophie's debut album forgive too slow, is a wistful and entrancing mix of cold techno and avant-garde synth pop with some surprising pockets of warmth scattered throughout the track list. A lot of this album feels dissociative and lamentful and almost made me feel like I was listening to something like Silent Servant but with vocals. This kind of off-kilter fusion of techno and abstract synth pop dominates the first half of the album, but songs like "wishful thinking" and "telephone" off of the latter half completely flip the mood into something vibrant and warm, as if we are witnessing the healing process of a traumatic event in real time. Definitely going to be one of the most underrated albums of the year.

[thoughtswordsaction]

Julia-Sophie Releases Final Single 'Wishful Thinking' From Debut Album 'Forgive Too Slow'

Photo courtesy Siobhan Cox Released on July 22nd, “wishful thinking” is the glistening final single from ‘forgive too slow,’ the debut solo album from Anglo-French avant-garde Electronic artist��Julia-Sophie. “Wishful Thinking is about loving someone so deeply but realising that loving them isn’t enough. I know I’m not an easy person to be with, and loving me causes hurt, so sometimes I have to…

[the-other-art-blog]

There's something so beautiful about Benedict wanting to be more than a Bridgerton...

Then voicing these feelings for the first time and only to Sophie, and Sophie being the first person who truly sees him for who he is...

To then Sophie getting angry because the family jokes about him and they don't seem to know him...

To finally the family understanding how unique Benedict is...

It's his love for Sophie that stood him apart 🥹🥹🥹🥹🥹

It even became THE love story of the Bridgerton family!!!

Excuse me while I cry 😭😭😭😭😭😭

[missingpolinseason]

I don't know who needs to hear it, but Julia Quinn doesn't pitch women against each other. Shondaland's writers do.

Daphne and Cressida never competed because of man - in fact, in the "The Duke and I" book it's actually one of Colin's friends who sees Daphne and Simon in the garden. Penelope and Cressida never competed for a man.

Kate and Edwina (and Mary) have one of the healthiest family relationships I've ever seen. There's no fights, and definitely no quarrel because of Anthony. Edwina is so happy for Kate and Anthony when they are forced to marry and always stays by her sister side as she never had real fealings for him. Not to mention that Kate and Pen became really good friends as both are wallflowers at the sideways of the ballrooms. Book Kate even confess she falls in love with Anthony when he stands up for Pen after Cressida's bullying.

Sophie becames friends with her stepsister Posy (who is treated by her mother similar to the way Portia treats Penelope). Posy even ends up living with the Bridgertons before marrying a vicar.

Lady Danbury is Penelope's friend and number one supporter. Polin names their first daughter - in the books - Agatha after her.

Pen and Eloise never fight (nor break their friendship) and Eloise is so proud of Penelope for being Lady Whistledown. Their friendship is so strong that Pen is the one to find out El's whereabouts when she runnaways to Phillip's house in her book. Eloise and Phillip's first daughter is named Penelope.

In the show, every female relationship is destroyed by some fight (most of the times related to a man) or doesn't exist at all. Pen and Kate barely meet or talk. Edwina is in love with Anthony. Mary puts to much pressure in Kate. Pen and Lady Danbury's friendiship was never explored... Now Rosamound (Sophie's stepsister) is supposed to be interest in Benedict when in the books her mother, Araminta, mentions once that she should go for a Bridgerton - most likely because they're a rich and influential family rather than a desire for her daughter to marry an actual Bridgerton).

But somehow, the only actual mean girl in Julia Quiss' books, Cressida Cowper, gets her actions justifyed because of her family situation . She get's to have a friend in Eloise and get's to share some of Pen's spotlight in the one that was supposed her season. Seems unfair, when even Marina - that we only know post mortem in the books - got a plot with unplaned pregnace; planed entrapment and lies*....

*This is not a critic to Marina's character, I am barely pointing what the show did to her in the list with everything else.

[island-in-ignorance]

Benedict Bridgerton is dodging a wife so hard I can't wait for him to be absolutely suckerpunched by Sophie's presence.

[assortedmelons]

Celebrity Melons

[crazychicke]

Benedict & Sophie from An Offer from a Gentleman

[newwavesylviaplath]

[yellowsnow77]

Julia Sophie - forgive too slow

Julia-Sophie es una de esas artistas que no para de reinventarse. La británica empezó su carrera en los primeros 2000, cuando formó parte del grupo de garage-rock Little Fish. Una banda que llegó a firmar un contrato con una gran discográfica. Incluso se mudaron a Los Ángeles para empezar una carrera musical que parecía de lo más prometedora. Pero la cosa no debió funcionar, porque al poco tiempo…

[poirott]

Wimbledon men's singles final → July 14 2024

Benedict Cumberbatch and Sophie Hunter chatting with Julia Roberts!

Source: sarahwoodgonzalez Instagram reel (alternate), photos via Benedict Cumberbatch Central

[muffin-more]

i had my visions that yerin ha as sophie beckett will always be famous 🦢🤍

-

you can following my sophie editing more @c0conophie on twitter (x). i had create my new account for fanedit but people might not seen my account as much as they can.

[thoughtswordsaction]

Julia-Sophie Released New Single & Video "telephone"

Photo by Siobhan Cox Released on June 25th, “telephone“ is the breathless and dreamy second single from ‘forgive too slow,’ Anglo-French avant-garde electronic artist Julia-Sophie’s debut solo album. The single follows May’s acclaimed “numb,” and is accompanied by the hazy heartbreak of its music video. Previously she toured the US with artists like Blondie, Courtney Love, and Juliette Lewis as…

[maddiesflame]

yerin ha x an offer from a gentleman layouts

like/reblog if saved © maddiesflame

[gorgxoxus]

Ranking the Bridgerton books:

1. The Viscount Who Loved Me - 4 ⭐️. Kate and Anthony’s book is number 1 because the characters were true to themselves throughout the book, I understood their motives and that made them amazing characters to follow as they fall in love with each other. It’s a great rivals to lovers, and seeing their love grow is beautiful. It made me giddy with happiness, kick my feet, cringe and made me almost cry. The angsty first time sex scene was everything I needed it to be. Season 2 was amazing, and the book is almost better!!

2. ⁠When He Was Wicked - 4⭐️. Side note before I get into it: I loved Micheal’s familial relationships in this book, as he grew up with his mother and Johns mother as parental figures, and I consider those two lesbian icons.

I loved reading Francesca and Micheal’s story. When you meet them before their story begins in earnest you see their friendship, and they immediately jumped out of the page as two people who have a fun and interesting connection as friends and ‘cousins/ family’ (they’re not actually cousins, Micheal is John’s cousin). When you meet them four years after John’s death, they have to work to become friends again. In the midst of that you see that Micheal respects Francesca as the countess of Kilmartin as he left her in charge as he left England for four years. Because Michael and Francesca are technically family (Micheal becomes the new Earl of Kilmartin when John dies) and share some residencies the lack of propriety is expected so they are alone together. It brings them together and it lets them do wicked and sexy acts to each other, especially when the story moves to Scotland and they are alone together in the Scottish country-side ( and Francesca’s been married, the power dynamics in the bedroom were 🥵🥵❤️❤️). It was beautiful to see Francesca experience love and desire after loss, and after expecting to get married again just to produce a child (and also keep the Kilmartin name and estates she’s run for years, and her connection with Micheal and John).

3. ⁠ It’s in His Kiss - 4⭐️. Hyacinth and Gareth are the most well matched characters in the series. Hyacinth is such a riot and never shuts up and Gareth is her match. The banter between them is amazing. Hyacinth and Gareth have a shared goal in the book which makes it interesting and gets them into all kinds of trouble. As Hyacinth is a person who knows who she is, that also translated to the best first kiss and first time, as she was taking as much control as she could. There is some dodgy lines of consent in this series, and I appreciated the full and out loud consent Hyacinth gave at all steps. They’re great characters to read about, and Lady Danbury plays a prominent role which is so much fun.

4. ⁠Romancing Mr Bridgerton - 4⭐️. Colin and Penelope’s story ranks fourth because Colin is one of the worst men in this series, with his anger and resentment and hurt he causes Penelope both emotionally and physically were hard to read. I love Penelope in the book, 28 year old her is quietly confident and has some of the best lines of the whole series. This book also highlighted friendship, between Pen and Lady Danbury, Pen and the Bridgertons especially Eloise and Hyacinth and Pen and Colin. I also appreciate this book as the Lady Whistledown plot running parallel to the love story gave it intrigue and drama, and made up for the fact that the romance was very middle of the road.

5. ⁠To Sir Phillip, With Love - 3⭐️. I was nervous about reading Eloise and Phillip’s love story because I had heard bad things about it, but it was fine. Phillip is a bad man, but all the men are in this series. I appreciated that Phillip knew he was bad and wanted to change himself and started to make changes in the small amount of time we had with him in the book, I respected his growth. Eloise is great, of course, speaks her mind, is talkative and interesting. I don’t think they are the most well matched couple but I had an enjoyable time reading the book and I think when they did communicate it did work. Phillips kids from his first marriage are a riot and very well written as children in my opinion. I do read Eloise as queer in the books, she literally runs away from home to a guy she’s never met because Penelope, her bestie she was planning to grow old together as a spinster, got married.

Side note: Penelope, Eloise and Francesca (to Micheal) get married in the same year and month in the books, poor Violet.

6. ⁠On the Way to the Wedding - 3⭐️. Gregory and Lucy had an interesting story (there was action, twists and turns, guns, blackmail, a gay character), but I don’t think they are well matched. Gregory believes so much about true love after watching the rest of his family marry for love, and Lucy values looking after her family and order. They didn’t convince me they were meant to be, they clearly loved each other but was it enough? I was definitely getting jaded near the end of reading the series. And I kept thinking that Lucy is like 17 (she’s the youngest of all the wives by a few years) and Gregory is 26, their age gap really took me out of the story.

7. ⁠The Duke and I - 2.5⭐️. Just watch season 1, the book is almost the same with a little less characterisation and less exciting and beautiful sets and costumes. I respected Simon’s hold on his values, but it definitely conflicted with Daphne’s. I wanted to smash their heads together to communicate. As with the show, the best part is when they are fake courting.

8. ⁠An Offer from a Gentleman - 1.5⭐️

Benedict and Sophie’s story ended up being my least favourite. I actually think Benedict and Sophie are well matched, but some of the things in this book really annoyed me. Benedict is the worst Bridgerton man/ sibling because of inexcusable actions he made in this book. I respected and enjoyed Sophie until she did something totally and completely out of character and then I stopped respecting her. My favourite part was when they met, my least favourite part was almost everything else.